Pooja was born in Kochi and raised on a mix of newspapers, pop culture, and too many questions. She studied Communicative English and Journalism before earning her Master’s in Journalism from Amrita Vishwa Vidyapeetham, and began her career interning at The Times of India and Channel I'M — where she later became a news anchor, scripting and presenting her own stories. Between deadlines, she’s worked across digital media platforms, covering politics, gender, pop culture, cinema, and everything in between. She has interviewed actors, creators, and changemakers, and occasionally edits her own video content — thanks to being certified in Photoshop and InDesign. In 2025, she joined the Asian Media Group in her first “official” newsroom gig, where she now covers entertainment, lifestyle, and the layered realities of South Asian identity. She believes storytelling should feel personal — even when it’s public — and likes to write not to please, but to provoke, question, and occasionally stir the pot.
Mahesh Babu joined SS Rajamouli, Jr NTR, and Ram Charan at the grand RRR live screening held at the Royal Albert Hall in London on Sunday. The event brought together the film’s visuals and live orchestral music, creating a one-of-a-kind experience.
The screening, which began at 6 PM local time, featured the Royal Philharmonic Concert Orchestra performing the movie's iconic soundtrack under the direction of composer MM Keeravaani. This marked a historic moment as it was only the second time an Indian film was performed live at the iconic venue, the first being Baahubali 2 in 2019, also directed by Rajamouli.
This event was a rare reunion for the RRR team, with director SS Rajamouli and lead actors Jr NTR and Ram Charan sharing the stage for the first time in three years. Mahesh Babu, who is working with Rajamouli on the upcoming film SSMB 29, also attended, sparking excitement among fans, even though he is not part of the RRR cast.
The screening celebrated the global success of RRR, which captivated audiences worldwide after its 2022 release. The film made history as the first Indian production to win an Oscar for Best Original Song with Naatu Naatu and earned other prestigious accolades, including a Golden Globe. The live orchestra event was a chance for fans to reconnect with the film’s energy and emotion.
One of the most talked-about moments from the event was when Jr NTR addressed an enthusiastic crowd, asking fans to maintain order while taking photos. His composed handling of the situation received praise on social media after a video of the incident went viral.
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Another highlight of the night was when Ram Charan wished Jr NTR a happy birthday, sharing a warm hug on stage. The audience erupted in cheers, celebrating not only the film but the deep friendship between the stars.
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With the perfect elements including live music, memorable reunions, and star presence, the Royal Albert Hall event was a landmark moment for both the RRR team and Indian cinema enthusiasts worldwide.
There have been many Hindi cinema projects inspired by Hollywood films, and Sarkar ranks among the finest. The brooding political crime drama, which paid tribute to the epic 1972 gangster film The Godfather, became a gritty, homegrown tale of power, loyalty and justice.
Directed by Ram Gopal Varma and set in Mumbai’s morally murky corridors of influence, the film centred on Subhash Nagre – a man feared, respected and mythologised. Played with majestic restraint by Amitabh Bachchan, the story followed Nagre’s control over the underworld, political power centres and a grey zone where justice was delivered through unofficial means. His sons, the hot-headed Vishnu (Kay Kay Menon) and the more composed Shankar (Abhishek Bachchan) – became central to this tale of betrayal, legacy and redemption.
A still from Sarkar, inspired by 'The Godfather' and rooted in Indian politicsIndia Glitz
Released on July 1, 2005, it marked a turning point in Indian cinema, celebrated for its storytelling, atmospheric visuals and memorable performances. Eastern Eye marks its 20th anniversary with 20 fascinating facts about the film.
1. The main character, Subhash Nagre, was loosely inspired by real-life figures such as Indian politician Bal Thackeray.
2. Unlike most Bollywood remakes of international cinema, Ram Gopal Varma openly acknowledged that Sarkar was heavily inspired by The Godfather.
3. Varma had originally planned to make the same film in the early 1990s, with Sanjay Dutt and Naseeruddin Shah in the lead father and son roles. Dutt’s legal troubles led to the project being shelved.
4. Varma had initially signed Amitabh Bachchan for another film titled Ek, but he scrapped that script and instead focused on making Sarkar with him.
5. Interestingly, the first film Amitabh and Abhishek were supposed to appear in together was their home production Ranveer, co-starring Sanjay Dutt and directed by Rajkumar Santoshi. The project was shelved after its launch.
Sarkar became a landmark gangster film in Indian cinemaIndia Glitz
6. Although Bunty Aur Babli (released in May 2005) marked their first on-screen appearance together, Sarkar was the first project the father and son signed as co-stars. Both actors delivered powerful performances that reflected their on-screen synergy and off-screen bond.
7. The success of Bunty Aur Babli followed by Sarkar marked a major turning point in Abhishek Bachchan’s career. After struggling to establish himself since his 2000 debut Refugee, he went on to win multiple Best Supporting Actor awards and earned wide critical acclaim.
8. Varma was working on Naach simultaneously with Abhishek and declared that he was a better actor than Amitabh. Abhishek appreciated the compliment but responded that no one is better than his father.
9. As this was newcomer Katrina Kaif’s third film, she was still working on her Hindi language skills – resulting in all her dialogues being dubbed by a voice artist. She had earlier debuted with Amitabh in Boom (2003), but had no scenes with him in Sarkar.
The film introduced a uniquely Indian take on the mafia genreRotten Tomatoes
10. Supriya Pathak, who played Amitabh’s wife in the film, had previously acted with him only once – in Shahenshah (1988), where she portrayed a sister figure.
11. This remains the only Ram Gopal Varma film to feature Anupam Kher.
12 . Sarkar broke the Bollywood norm of including traditional song-and-dance numbers. Instead, music was used exclusively in the now-iconic background score, which enhanced the film’s realistic tone.
13 . The haunting ‘Govinda Govinda’ chant, integral to the film’s atmosphere, was originally composed for Varma’s 1994 Telugu film Govinda Govinda. (Amitabh Bachchan had initially questioned its relevance in Sarkar.)
14. Kay Kay Menon revealed that his role in Sarkar gave him confidence and wider recognition. He said, “It marked a turning point in my career, where I felt truly acknowledged for my work and could confidently present myself as an established actor.”
Set in Mumbai, Sarkar portrayed the dark world of parallel justiceRotten Tomatoes
15. The acclaimed film went on to spawn the sequels Sarkar Raj (2008) and Sarkar 3 (2017).
16. A 2014 Telugu remake titled Rowdy was made with veteran actor Mohan Babu and his real-life son Vishnu Manchu in the roles originally played by the Bachchans. Although it received positive reviews, it met with only moderate success.
17. The film is archived at the Academy of Motion Pictures Library.
18. Sarkar is referenced in Ed Glaser’s book How The World Remade Hollywood, which explores international remakes and reinterpretations of iconic American films.
Ram Gopal Varma’s Sarkar marked 20 years of influence and acclaimIMDb
19. Earlier this year, Amitabh revealed that he rewatched Sarkar for the first time since its 2005 premiere and wrote in his blog: “I was absolutely amazed at the quality of the film, its direction, and above all – this is not a father speaking – dazzled by Abhishek’s performance. What restraint, what close-ups, what eye expressions, what presence, what a performance!”
20 .Other Bollywood films loosely inspired by The Godfather include Dharmatma (1975), Aakhri Sanghursh (1986), Dayavan (1988), Zulm Ki Hukumat (1992), Aatank Hi Aatank (1995), Sapoot (1996) and The Power (2021). However, Sarkar arguably remains the most faithful – and finest – adaptation.
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Rising from the vibrant music scene of Mumbai, Indian-Nepalese singer-songwriter Janisht Joshi is quickly carving out a distinctive space for himself with his emotive voice, thoughtful lyrics and genre-blending style. Once known for soulful covers, Joshi now commands attention with original compositions that reflect a wide spectrum of influences – from John Mayer’s intimate storytelling and The Strokes’ raw edge to the timeless romance of classic Bollywood greats such as Guru Dutt and Raj Kapoor.
Writing in both Hindi and English, he bridges cultures and eras with a sound that feels fresh yet familiar. His latest track Kaanton Ka Taj, a haunting collaboration with Ramil Ganjoo, explores beauty, pain and resilience.
The exciting young talent spoke to Eastern Eye about his artistic journey, creative process, latest single, personal playlist, inspirations and future plans.
Janisht Joshi
What first connected you to music? There was always music playing around the house – mostly my parents’ taste – Elton John’s top hits, old Hindi film songs, Jagjit Singh’s Marasim. It seeped in. The idea of writing and performing came later. I watched Rockstar by Imtiaz Ali when I was 10 and realised that guitars are awesome. After a lot of pleading, my parents finally bought me one. I taught myself chords and wrote a lot of terrible songs. I still do.
How do you reflect on your music journey so far? I am only seven songs old. There is a lot lined up for the second half of this year – a full-length album, a couple of collaborative EPs and a bunch of singles and collaborations. It is exciting. There is nothing else I would rather do.
Which of your songs is closest to your heart? I hate them all equally, but if I had to choose, it would be Nahi. Some songs you write and outgrow, because you get older and become a better version of yourself. I do not think that will happen with Nahi. My cynical worldview of any kind of human relationship feels permanent.
Janisht Joshi on music, meaning and making space for emotion
How would you describe your unique brand of music? Oh damn! That is difficult. I do not know how unique my music is. I just try to have fun and write honestly. If something sounds good and I do not hate myself while making it, that is a good day of work.
You have done some interesting collaborations, but how do you decide who to work with? I can only collaborate with someone if I can also sit across from them and enjoy a beverage. All my collaborators are self-aware, kind and funny people. I am very grateful for them. If someone is an insufferable, self-aggrandising know-it-all, I will not write with them. Life is too short to suffer that category of fools.
Tell us about your new single. It is called Kaanton Ka Taj. I made it with Ramil Ganjoo, a dear friend and fellow introvert, navigating social situations like a deer in headlights. The song came out of one of our usual conversations – the films of Guru Dutt, music industry gossip, existential dread. It is about feeling alone even when surrounded by people, simply because of our cynicism and lack of faith in the magic of human connection.
How important is it for you to have lyrically strong songs? Not super! I like having something to say, but I do not break my head over it. Most of the time, the lyrics just show up. I try not to overthink it – if it feels honest, I leave it in.
What is the music master plan going forward? No grand blueprint. Just write, perform, repeat. I want to build a large body of work – mindfully, deliberately. I have met some brilliant people this past year, and I plan to write a lot of music with them. The immediate goals are to release my full-length solo album Talkhiyaan and a couple of collaborative EPs.
What music dominates your own personal playlist? I know this is the most non-answer ever, but I really do listen to everything. A lot of The Strokes, Radiohead, Nirvana. A lot of newer rock acts – Bleachers, Arctic Monkeys, The Killers – the full spectrum of male manipulator music. RD Burman, worship him. Music from the films of Raj Kapoor, Guru Dutt and Hrishikesh Mukherjee. Obscure indie bands I know nothing about. AR Rahman across all languages. And every single song ever picturised on Shah Rukh Khan. That is non-negotiable! Also, a lot of Indian indie friends, peers and strangers making insane music across genres.
Janisht Joshi
If you could master something new in music, what would it be? Honestly, I know embarrassingly little about music theory or production. I should probably take lessons in everything. But right now, I really want to learn drums. It seems like the kind of thing that might help with my constant antsiness.
Who is your own music hero? I have too many heroes across genres, but if I must pick one, it is Julian Casablancas. Everything he has done – The Strokes, The Voidz, solo work, even the weird one-off stuff – feels like it is coming from a place of not caring at all and caring too much at the same time. Also, he made mumbling into an art form, which gives me hope because I am not a master enunciator.
What inspires you creatively? Everything, really. I am an obsessive reader, so books. Also, films, cities, strangers, my beautiful friends. The places I travel to and the people I meet – especially those I will never see again. And, of course, my deep-rooted need for attention. That always helps.
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Charli XCX finishing her make-up look with a swipe of Puffer Gloss.
Forget subtle. Charli XCX didn’t just wear Valentino’s Puffer Gloss. She almost weaponised it. During her chaotic Brat era, she turned a lip product into a cultural badge. This isn’t about a perfect pout. It’s about a tiny tube that became the emblem of her Brat era, bringing together instant plump, mirror shine and some real-life grit. Here’s how a lip gloss went from backstage essential to cultural phenomenon.
A formula built for extremes
This wasn't some dainty dab-on-and-forget-it situation. The Puffer Gloss was built for warfare, specifically, the warfare of a desert festival and a non-stop pop star.
Peppermint and peptides gave a noticeable tingle (a "moderate sting") for instant plump.
Hyaluronic acid and ceramides kept lips hydrated under desert sun or stage lights.
Non-gritty holographic glitter caught light without feeling cheap.
It worked. On stage, in heat, for hours. No melting, no disappearing act.
When Charli hit the main stage, her makeup artist layered Puffer Gloss in “In My Glowing Era” over a sheer matte base. As she sang, she reapplied live, smudged edges and all, turning touch-ups into ritual. The crowd went wild, and within hours the shade sold out at Sephora. Suddenly, everyone wanted a ticket to the “brat summer” beauty party.
What makes Charli’s Puffer Gloss story so compelling is that she refused to hide. Her whole vibe – "chaotic chic" – was its DNA. Eye bags? “Chic.” Smudged liner? “Party-ready.” Her lips weren’t photoshopped pouts. In fact, they were real, raw and ridiculously glossy. She didn't just wear Moonlight Crush (her favourite deep grape shimmer); she compared its sparkle to the feeling of her song "party 4 u”: transformative, emotional, a little bit feral.
Fast forward to the Met Gala, and Charli’s gloss took on a new mood. This time she chose “Warm It Up,” a rosy-brown shade that played against her gothic-tailored suit. Charli carried the damn gloss in her tiny purse. Paparazzi caught her with it. This wasn't just stage gear anymore; this was red-carpet essential, luxury with Brat attitude. It whispered, "Yeah, I need this everywhere."
The aftermath: From sold-out tube to generational totem
The "Charli effect" wasn't hype; it was carnage. Sephora? Ravaged. Nordstrom? Scrambling. But it went deeper than sales. Beauty editors, once side-eyeing plumpers, raved about its "balance of torture and triumph." It became shorthand for the entire Brat aesthetic: maximalist, nostalgic, unapologetically you. TikTok edits mashed gloss close-ups with "360" beats. Memes parodying "Puffer Gloss face" exploded. That slight tingle? Reframed as "pain for beauty" rebellion against boring wellness. It stopped being makeup. It became a generation's sticky, shiny, slightly-stinging flag.
Charli didn’t reinvent lip gloss, but she reminded everyone what it can do when it’s part of something bigger. This gloss screamed because Charli made it human. She took it from the lab to the mosh pit to the Met steps, smudging it, reapplying it, living in it. It survived desert heat, complemented gothic tailoring, and still looked like a damn party in your bathroom mirror at 3 a.m. With Puffer Gloss, she didn’t sell a product. She sold a feeling: loud, messy, confident.
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Shubhanshu Shukla pictured during the Axiom-4 launch from NASA Kennedy Space Center
Group Captain Shubhanshu Shukla becomes the second Indian in space and the first on a commercial mission.
Chose Yun Hi Chala Chal Rahi from Swades for his launch playlist.
Lift-off occurred from NASA’s Kennedy Space Center aboard SpaceX Falcon 9.
Shukla shared a heartfelt message in Hindi after entering orbit.
India’s newest astronaut, Group Captain Shubhanshu Shukla, gave his historic spaceflight a desi soundtrack. The fighter pilot, who launched into orbit as part of Axiom Space’s Ax-4 mission, chose Yun Hi Chala Chal Rahi from the Shah Rukh Khan film Swades for his official launch day playlist, a personal pick that struck an emotional chord with many.
Shukla became the second Indian to fly to space after Rakesh Sharma and the first to do so via a private mission, lifting off aboard the SpaceX Falcon 9 from NASA’s Kennedy Space Center in Florida.
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SRK's Swades track adds emotional punch to space journey
The track, composed by AR Rahman with lyrics by Javed Akhtar, is known for its uplifting message about perseverance and self-discovery. In Swades, Shah Rukh Khan plays a NASA scientist who returns to rural India, a journey mirrored symbolically in Shukla’s own.
SpaceX shared the launch day playlists of all four astronauts on X. Shukla’s Indian pick stood out among other selections like Imagine Dragons’ Thunder by Commander Peggy Whitson, Poland’s Slawosz Uznański’s Supermoce, and Hungary’s Tibor Kapu’s Búvóhely.
Crew members of Axiom Mission 4 preparing for lift-off aboard the SpaceX Falcon 9Getty Images
After the successful launch, Shukla addressed the nation in Hindi, calling it a “kamaal ki ride,” and spoke of the pride he felt wearing the Tricolour. “This journey is not just mine,” he said. “It’s the beginning of India’s human spaceflight programme.”
Axiom-4 launch triggers national celebration and school pride
Back in Lucknow, Shukla’s alma mater, City Montessori School, hosted a live watch party called ‘Vyomotsav’, attended by his family and hundreds of students. The school recreated a mini space centre experience complete with space exhibits and a simulated mission control.
Shubhanshu Shukla greeted Indians from space calling it a kamaal ki rideGetty Images
The Ax-4 crew is set to spend around two weeks aboard the International Space Station conducting research, outreach, and commercial activities. This is Axiom’s fourth private astronaut mission and includes astronauts from India, Poland, and Hungary, all flying to the ISS for the first time.
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PinkPantheress drops out of Glastonbury’s Thursday lineup as Roza Terenzi steps in for late night set
PinkPantheress cancels her Thursday night slot at Glastonbury’s Levels stage.
Electronic act Roza Terenzi will now perform from 10:30 pm to midnight.
Organisers confirmed cancellation was not due to crowd concerns.
PinkPantheress still scheduled for Friday’s Woodsies stage set at 7:30 pm.
PinkPantheress has withdrawn from her Thursday night appearance at Glastonbury Festival just days before the event kicks off. The British pop star was set to perform a 30-minute set on the Silver Hayes Levels stage, but organisers have now confirmed a schedule reshuffle with Roza Terenzi taking over the late-night slot.
Glastonbury schedule shuffled as PinkPantheress exits early slot
Festival organisers announced that PinkPantheress, whose real name is Victoria Beverley Walker, will no longer perform her planned 11 pm set on the Levels stage this Thursday. Roza Terenzi has been confirmed as her replacement, performing a longer set from 10:30 pm to midnight, between DJ slots from Confidence Man and Marie Davidson.
Despite fan speculation that overcrowding concerns prompted the change, Glastonbury clarified that the decision had nothing to do with capacity or safety. “The artist was simply no longer able to make this performance,” a spokesperson stated, assuring attendees that PinkPantheress will still take the Woodsies stage on Friday evening at 7:30 pm.
An escape artist performs during the first day of the Glastonbury festival at Worthy Farm Getty Images
Online, fans responded with a mix of disappointment and relief. “Was going to be dangerously rammed,” one user posted on Reddit, pointing to the risk of packing a major act into a smaller venue.
Rising star still set for Friday show after sudden switch
PinkPantheress shot to fame via TikTok and has since built a strong following with her nostalgic yet fresh sound, putting together 2000s R&B samples with bedroom pop aesthetics. She’s earned three Brit Award nominations and landed in the UK top 10 charts for both singles and albums.
While this isn’t the first time the 24-year-old artist has pulled out of performances: she cancelled her 2024 tour dates citing health reasons, her Friday Glastonbury show remains unchanged.
With Glastonbury set to kick off on 26 June, the final schedule is still being pieced together, and festival-goers are now keeping an eye out for more surprise changes and hidden acts.